Texting The Television

Texting the Television
A
Once upon a time, if a television show with any self-respect wanted to
target a young audience, it needed to have an e-mail address. However,
in Europe’s TV shows, such addresses are gradually substituted by
telephone numbers so that audiences can text the show from their
mobile phones. Therefore, it comes as no shock that according to
Gartner’s research, texting has recently surpassed Internet usage across
Europe. Besides, among the many uses of text messaging, one of the
fastest-growing uses is to interact with television. The statistics provided
by Gartner can display that 20% of French teenagers, 11% in Britain and
9% in Germany have responded to TV programmes by sending a text
message.
B
This phenomenon can be largely attributed to the rapid growth of reality
TV shows such as ‘Big Brother’, where viewers get to decide the result
through voting. The majority of reality shows are now open to text-
message voting, and in some shows like the latest series of Norway’s
‘Big Brother’, most votes are collected in this manner. But TV-texting
isn’t just about voting. News shows encourage viewers to, comment by
texting messages; game shows enable the audience to be part of the
competition; music shows answer requests by taking text messages; and
broadcasters set up on-screen chat rooms. TV audiences tend to sit on
the sofa with their mobile phones right by their sides, and ‘it’s a
supernatural way to interact.’ says Adam Daum of Gartner.
C
Mobile service providers charge appreciable rates for messages to
certain numbers, which is why TV-texting can bring in a lot of cash. Take
the latest British series of ‘Big Brother’ as an example. It brought about
5.4m text-message votes and £1.35m ($2,1m) of profit. In Germany,
MTV’s ‘Videoclash’ encourages the audience to vote for one of two rival
videos, and induces up to 40,000 texts per hour, and each one of those
texts costs €0.30 ($0.29), according to a consultancy based in
Amsterdam. The Belgian quiz show ‘1 Against 100’ had an eight-round
texting match on the side, which brought in 110,000 participants in one
month, and each of them paid €0.50 for each question. In Spain, a
cryptic-crossword clue invites the audience to send their answers
through text at the expense of €1, so that they can be enrolled in the poll
to win a €300 prize. Normally, 6,000 viewers would participate within one
day.
At the moment, TV-related text messaging takes up a considerable
proportion of mobile service providers’ data revenues. In July, Mm02 (a
British operator) reported an unexpectedly satisfactory result, which
could be attributed to the massive text waves created by ‘Big Brother’.
Providers usually own 40%-50% of the profits from each text, and the
rest is divided among the broadcaster, the programme producer and the
company which supplies the message-processing technology. So far,
revenues generated from text messages have been an indispensable
part of the business model for various shows. Obviously, there has been
grumbling that the providers take too much of the share. Endemol, the
Netherlands-based production firm that is responsible for many reality
TV, shows including ‘Big Brother’, has begun constructing its own
database for mobile-phone users. It plans to set up a direct billing
system with the users and bypass the providers.
D
How come the joining forces of television and text message turn out to
be this successful? One crucial aspect is the emergence of one-of-a-kind
four-, five- or six-digit numbers known as ‘short codes’. Every provider
has control over its own short codes, but not until recently have they
come to realise that it would make much more sense to work together to
offer short codes compatible with all networks. The emergence of this
universal short codes was a game-changer, because short codes are
much easier to remember on the screen, according to Lars Becker of
Flytxt, a mobile-marketing company.
E
Operators’ co-operation on enlarging the market is by a larger trend,
observes Katrina Bond of Analysys, a consultancy. When challenged by
the dilemma between holding on tight to their margins and permitting the
emergence of a new medium, no provider has ever chosen the latter
WAP, a technology for mobile-phone users to read cut-down web pages
on their screens, failed because of service providers’ reluctance towards
revenue sharing with content providers. Now that they’ve learnt their
lesson, they are altering the way of operating. Orange, a French
operator, has come such a long way as to launch a rate card for sharing
revenue of text messages, a new level of transparency that used to be
unimaginable.
F
At a recent conference, Han Weegink of CMG, a company that offers the
television market text-message infrastructure, pointed out that the
television industry is changing in a subtle yet fundamental way. Instead
of the traditional one-way presentation, more and more TV shows are
now getting viewers’ reactions involved.
Certainly, engaging the audiences more has always been the promise of
interactive TV. An interactive TV was originally designed to work with
exquisite set-top devices, which could be directly plugged into the TV.
However, as Mr Daum points out, that method was flawed in many ways.
Developing and testing software for multiple and incompatible types of
set-top box could be costly, not to mention that the 40% (or lower)
market penetration is below that of mobile phones (around 85%). What’s
more, it’s quicker to develop and set up apps for mobile phones. ‘You
can approach the market quicker, and you don’t have to go through as
many greedy middlemen,’ Mr Daum says. Providers of set-top box
technology are now adding texting function to the design of their
products.
G
The triumph of TV-related texting reminds everyone in the business of
how easily a fancy technology can all of a sudden be replaced by a less
complicated, lower-tech method. That being said, the old-fashioned
approach to interactive TV is not necessarily over; at least it proves that
strong demands for interactive services still exist. It appears that the
viewers would sincerely like to do more than simply staring at the TV
screen. After all, couch potatoes would love some thumb exercises.
EVIDENCE:
28. This phenomenon can be largely attributed to the rapid growth of
reality TV shows such as ‘Big Brother’, where viewers get to decide the
result through voting. The majority of reality shows are now open to text-
message voting, and in some shows like the latest series of Norway’s
‘Big Brother’, most votes are collected in this manner. But TV-texting
isn’t just about voting.
29. Mobile service providers charge appreciable rates for messages to

certain numbers, which is why TV-texting can bring in a lot of cash.
30. How come the joining forces of television and text message turn out
to be this successful? One crucial aspect is the emergence of one-of-a-
kind four-, five- or six-digit numbers known as ‘short codes’
31. Operators’ co-operation on enlarging the market is by a larger trend,

observes Katrina Bond of Analysys, a consultancy.
32. The triumph of TV-related texting reminds everyone in the business

of how easily a fancy technology can all of a sudden be replaced by a
less complicated, lower-tech method.
33. However, in Europe’s TV shows, such addresses are gradually

substituted by telephone numbers so that audiences can text the show
from their mobile phones.
34. Fews shows encourage viewers to, comment by texting messages;

game shows enable the audience to be part of the competition; music
shows answer requests by taking text messages; and broadcasters set
up on-screen chat rooms
35. Fews shows encourage viewers to, comment by texting messages;

game shows enable the audience to be part of the competition; music
shows answer requests by taking text messages; and broadcasters set
up on-screen chat rooms
36. An interactive TV was originally designed to work with exquisite set-

top devices, which could be directly plugged into the TV.
37.At a recent conference, Han Weegink of CMG, a company that offers
the television market text-message infrastructure, pointed out that the
television industry is changing in a subtle yet fundamental way

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Texting the Television

29. Mobile service providers charge appreciable rates for messages to

31. Operators’ co-operation on enlarging the market is by a larger trend,

32. The triumph of TV-related texting reminds everyone in the business

33. However, in Europe’s TV shows, such addresses are gradually

34. Fews shows encourage viewers to, comment by texting messages;

35. Fews shows encourage viewers to, comment by texting messages;

36. An interactive TV was originally designed to work with exquisite set-

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